The sixth version of SPRING/BREAK Art Show outgrew its former location at the James A. Farley Post Office and currently occupies the 22nd and 23rd floor of the former Conde Nast building at 4 Times Square. The labyrinth of 150+ curated office spaces contain the freshest, most cutting edge work of emerging and mid-career artists and independent curators. I must confess that this is my favorite Armory Week satellite fair. This year’s theme, Black Mirror, exhibits, “autobiographical artworks that engage, defy or uphold the idea that art should ‘hide the artist’.”

The volume of works, exhibited in a hive-like office structure, can become overwhelming. I would suggest more than one visit in order to fully take everything in. The problem is that there is so much worth stopping for and experiencing, making a rushed lap impossible.

Carol Bove, Selected Work from the Avi Whort CollectionGuy Richards Smit: A Mountain of Skulls and Not One I Recognize (2357)

Guy Richards-Smit returns from 2016’s The Grossmalermn Show! with a selection of watercolors and canvasses. The darkly humorous projections upon the remains in a mass grave can be described as “an oddly affecting meditation on mortality, history and unbelievable human suffering.”

Guy Richards-SmitA Mountain of Skulls and Not One I Recognize

Coco DolleMilk and Night (2354)

I have chosen the number of 13 artists as an element of discomfort, the ill-fated number evoking ideas of sin, curse, rebellion and lawlessness.

The thirteen artists include twelve women and one “gentle-tokenman.”

The fair opened Tuesday February 28 with a performance by Ventiko and Davis Henry Nobody Jr. is scheduled to perform Self-Portrait as A Buffet Table 3:30pm Saturday, March 3.

a live situational and surreal tableau where the artist offers multiple body parts within an edible food display. Engaging the viewer into a festival of visceral actions, this performance reads as a reflection of our obsessive consumption of media, stories and political dramas.

Giordano returns with another immersive environment filled with uncanny representations of the artist’s memory. The schemata encourage the viewer’s mind to fill in the spaces, unfolding a scene of working-class American life represented in paper-maché, cardboard, etc. The setting resembles a stage set in which objects have been constructed with unfinished backs, a reminder of the artifice of the environment. The small televion sets were the most affordable objects in the collection and were almost sold out within the first two hours of the opening night.

Mariah KittensReflected Perceptions (2346)

Filip Kostic and Evan Hembacher’s virtual reality installation builds off of the familiar, generic office environment, subverting expectation through the manipulation of common artifacts of the cubicle lifestyle.